Drummers I need your help!

Having no idea how to write a good drum track, Ive decided to come here (once again) to ask for your help, guys. Anyway, Im building this song off the coda of an old one I had, which didnt fit very well there. Im trying to make the new song kind of poppy, so you know more or less what to do.

Also, if you help me and want a crit on one of your songs, please post the link.

Thanks a lot!

dylann

04-27-2011, 11:21 PM

wow haha to be honest i think this is a mess i cant hear what you obviously want it to sound like hmm pop rock stuff should be written at 100 to 120 tempo to 150 kinda threw me of but im all of breaking conventions so yeah.. im going to try for you

rage__against10

04-28-2011, 04:58 AM

see if you like this, tried to keep it groovy.
this is WAY outta my range for style - but i gave it a shot.

juckfush

04-28-2011, 05:59 AM

wow haha to be honest i think this is a mess i cant hear what you obviously want it to sound like hmm pop rock stuff should be written at 100 to 120 tempo to 150 kinda threw me of but im all of breaking conventions so yeah.. im going to try for you
I really didn't think it was a mess at all, and honestly can't fathom why an entire genre of music should be restricted to a certain (narrow) tempo range.
If all you're going to do is spout condescension without any positive contribution, why post? :shrug:

Here's a really rough draft, but hopefully it'll give you some ideas. I didn't use my usual method of drum notation and idea-developing (which will be my excuse if any parts appear particularly clumsy :p: ) but I can check back in tomorrow for another more sensible attempt. :)

When listening to your score, ear out any possible, simple rhythmic ostinatos that could benefit the piece; after a few listens an idea may just pop into your head. This can act as the basic framework on which you build. In the first 8 bars of what I've uploaded, there's a simple pattern in the top line, which started out as a ride -> bell pattern. The bell seemed a little too abrasive though, so I opted for an open -> closed hi-hat movement on the counts of 2 and it's ''a'' (since we're in a quadruple compound feel), which also follows the guitar's melodic ostinato, or repeated rhythmic phrase.
It's also important to consider where you could place accents to establish a secondary-groove, or to simply reinforce a melodic statement with your rhythmic accompaniment; you may decide to have a consistent closed hi-hat (which in itself has a similar timbre to a scratchy, muted guitar) but accent every chord hit by opening the hats, or using a bell or ride . You may also like to sparingly accent certain ''beats'' or parts of the measure with a bass drum, or use a ghosted snare to lead-into one such accent.
Most importantly, start simple - use only two or three parts of the kit (perhaps a hi-hat and snare to start off?) and fill up sonic space accordingly. You can develop some great grooves with only a small portion of the kit and using others as embellishments later on. I'd probably opt for hi-hat, then snare, then bass drum, and then including or substituting cymbals and toms. Of course, everyone has their own method, but a simple step-by-step approach could prove helpful.

I'm sure that I'm missing out on some points, or worded some parts less-than-eloquently, but if there's anything more I can offer, please feel free to ask.

:cheers:

juckfush

04-28-2011, 10:14 PM

Updates are here!
I tried to follow by your request as much as I could, and used some of the ideas I mentioned in my return PM. I've used more repeated patterns and ostinatos this time, but there are still some subtle trips and counters in there.
If this is a little more on the path you'd like but still could use some work, just send me another PM and I'll refine it a little more (I'm worried that it's maybe a little too busy this time around). :)
I was thinking that maybe the ''cooled-downed'' sort of drumming in the first half of my original upload might be something to use as a post-chorus/pre-verse, as a sort of tension builder, before going full-fledged again. I did use some auxiliary percussion there with the bongos and congas (though admittedly, in a pretty juvenille way :haha: ) but even including more of that for a brief moment could create some interest in the second verse. You could even use those sorts of percussion as a substitution for the toms and the like, just like how i mentioned cymbals can substitute hats for dynamic influx.
I've also included the key signature (A major), and on the note of keys, I really enjoyed the borrowed flat-seventh of the key in the G/B chord. That subtle chromatic movement is really great for a piece like this.

Again, if there's anything more I can do to help out, please feel free to PM me. It's no hassle for me, and it's actually a great opportunity for me to get back on track writing for ensembles. :)

All the best with finishing up the piece, and be sure to keep me updated with everything.